Polanski's The Ghost Writer

[KK2.0]

is there a thread for it? couldn't find it. A brief teaser surfaced:

http://www.firstshowing.net/2009/08/14/very-short-first-teaser-for-roman-polanskis-the-ghost/


i'm intrigued, is it a political thriller? Spy movie? McGregor is a terrorist?

[Grouchy]

According to Wikipedia, it's "a novel about a writer who stumbles upon a secret while ghosting the autobiography of a former British prime minister".

[baby doll]

I'll probably see it no matter what, just because it's Polanski. Based on the one line summary Grouchy posted (I'm not into watching teasers or trailers; it's bad enough I have to see them every time I go to the multiplex), it doesn't sound like it's in the free-wheeling, sadistic black comedy-musical mode of Bitter Moon, but neither was The Pianist and that was still pretty okay.

[Sxottlan]

I remember seeing this book at the store. Didn't buy it though.

[Sxottlan]

This was very good. What a wonderful sense of place creating such a chilly and stark feeling. Even more impressive considering other locations were used to fill in for Martha's Vineyard.

EDIT: No posts since August? I thought this had rolled out slowly already. Has no one else seen it?

[Adam]

I've seen it - it's groin-grabbingly awesome

[Sxottlan]

I've seen it - it's groin-grabbingly awesome

That's the best kind of awesome there is.

[Mal]

I've seen it - it's groin-grabbingly awesome

Totally. Sooooo good. Polanski is in top form here, despite the fact that it seems like politics as usual from the general story outline and the previews. Almost makes you forget that Pierce Brosnan was in Mama Mia!- Olivia Williams is magnificent, as is McGregor (though his greatness is more subtle, rightfully so). No doubt people will skip this because of Polanski himself- those people are missing out on some damn fine filmmaking.

[Acapelli]

yeah i loved this

[hey it's ethan]

The trademark of Roman Polanski has always been how he builds a sense of dread and unease; like you’re in a cruel world full of unkind and sinister people who will do anything to bring you down. This theme applies to everything from his classic urban dweller trilogy; Repulsion, Rosemary’s Baby and The Tenant as well as his classic film noir Chinatown. He takes what appears to be an average political thriller on the surface and turn it into a masterwork of suspense.

The thing about the film that surprised me the most was its sense of humor; it has a subtle self-reflexive wit about the thriller genre similar to Robert Altman’s The Long Goodbye and Werner Herzog’s recent Bad Lieutenant : Port of Call New Orleans. Polanski finds a way to make all the typical thriller and noir tropes (TV and newspapers conveniently having the right information at the right time, mysterious figures always following you) only add to the tone of the film. Alexandre Desplat’s wonderfully playful score only adds to the atmosphere.

The film is always a complete mystery; you’re never sure who’s doing what, why this is happening and who’s good and who’s bad, but in the best way possible. Clues are slowly revealed but never at the pace that a typical Hollywood thriller would give you. I felt a deep sense of satisfaction during the stunning finale because of the film’s patience, not because I was having everything stuffed down my throat. Also, despite the use of politics factoring heavily in the film, the movie never actually attempts to be a comment on the war on terror, this is perfectly fine though. The Ghost Writer is definitely a popcorn flick, but with the distinctly arthouse touch of the auteur at hand.

[chrisnu]

This was a delight to watch unfold. I think Ethan describes it quite well.

[Skitch]

I'm highly anticipating this.

[Pop Trash]

Thoughts on this Derek? You seem to be the only person so far with ill will about it.

[MadMan]

My theater has this movie for some reason. I doubt I'll get around to watching it before it leaves, so I'll probably end up making this a rental. Rolling Stone alerted me to its existence previously.

[Derek]

Thoughts on this Derek? You seem to be the only person so far with ill will about it.

Dramatically, the film was a flatline and while Polanski still shows his talent in creating a somewhat compelling atmosphere, there was surprisingly little tension. The Bush/Blair parallels felt rather hackneyed and were never presented with much depth or conviction and the supposed bombshell was both underwhelming and portrayed with an unearned sense of grandiosity. The whole thing was a much ado about nothing, not particularly bad per se, just more bland than I'm accustomed to from Polanski. It's definitely the weakest film I've seen from him so far.

[Briare]

I saw Rosemary's Baby all the way through this thing, from the building of McGregor's suspicions to the final shot this seemed to be Polanski's attempt at a throwback to his glory days. Not that that's necessarily a bad thing but I don't see what all the fuss is about exactly as the script itself is fairly bland and only the performances and camera work lift it beyond the realm of a so so political thriller with a decent reveal. If Polanski hadn't been aboard to stylistically elevate the material I think it would've been a total wash. If you catch my drift.

[Pop Trash]

If you catch my drift.

So you are saying its Polanski's Shutter Island then?

[Briare]

Its an apt comparison actually, both films build up competantly to a completely unsatisfying "twist" ending and are impressive based more on technique than any substance though I much prefer Shutter Island all around.

[Morris Schæffer]

What a truly remarkable thriller this is. Clever, unpredictable, mature, perfectly paced. Little happens, but a sense of unease was constantly present and Polanski's craft was just mesmerizing. Even when the resolution left me with a slight feeling of "that's it!?" - and bear in mind I'm still pondering whether that is truly it - Polanski, accompanied by masterful music from Desplats, captures the most dramatic sequence you'll ever see of a piece of paper exchaning hands. The movie is so measured, deliberately devoid of big shocks, that when they arrived - and I would say there were two in total - they practically felt unearned, unnecessary. The surprises don't end there. We've got Jim Belushi.....bald! And Eli Wallach......alive!! And some of the most evocative, atmospheric beach scenes ever committed to film.

Now I'd like someone to share some thoughts on the aforementioned resolution. Was brosnan's wife Ruth the one who killed MacGregor's predecessor? Because he had uncovered that she had been recruited into the CIA by the Tom Wilkinson character? Why is that shocking? Didn't Brosnan's Adam Lang admit to the Ghost Writer that he condoned the torture of presumed terrorists? I'm thinking the role of the wife was bigger, but I'm not quite grasping the implications of that finale.

[Sxottlan]

Now I'd like someone to share some thoughts on the aforementioned resolution. Was brosnan's wife Ruth the one who killed MacGregor's predecessor? Because he had uncovered that she had been recruited into the CIA by the Tom Wilkinson character? Why is that shocking? Didn't Brosnan's Adam Lang admit to the Ghost Writer that he condoned the torture of presumed terrorists? I'm thinking the role of the wife was bigger, but I'm not quite grasping the implications of that finale.

It was my impression that...

it's shocking because there is the implication that the CIA had essentially taken control of Britain by engineering Lang's whole political career. At the very least, the CIA was completely dictating British foreign policy. As Ruth said to the Ghost, her husband had always followed her advice, "but not lately."

[Morris Schæffer]

It was my impression that...

it's shocking because there is the implication that the CIA had essentially taken control of Britain by engineering Lang's whole political career. At the very least, the CIA was completely dictating British foreign policy. As Ruth said to the Ghost, her husband had always followed her advice, "but not lately."

yes, I suppose that's it in a nutshell. Especially when taking into account that the Lang character was not at all a politically-inclined person. Indeed, when asked by the reporter why he went into politics, the best he can do is "because I fell in love." Still, this got me thinking. The shooting of the Lang character, was that orchestrated by the wife? Now the storm will (possibly) calm down and it was clear that love had vacated their relationship anyway what with him sleeping with the Catrall character.

[baby doll]

yes, I suppose that's it in a nutshell. Especially when taking into account that the Lang character was not at all a politically-inclined person. Indeed, when asked by the reporter why he went into politics, the best he can do is "because I fell in love." Still, this got me thinking. The shooting of the Lang character, was that orchestrated by the wife? Now the storm will (possibly) calm down and it was clear that love had vacated their relationship anyway what with him sleeping with the Catrall character. First of all, I wouldn't take it for granted that the wife orchestrated any of it. I mena, what's Brosnan's motive for embedding secret messages in his autobiography (or did he not know what he was doing)? And to then make the leap that the actions of a lone nut are part of a larger conspiracy is really embracing paranoid thinking, but I suppose fully in keeping with the paranoid logic of the story. Next we'll be talking about how this film and Shutter Island--both rainy Massachusetts thrillers with conspiracy plots--are reflections of the zeitgeist, but where Polanski's film is essentially European in its rage against Blair (misogynistically transferred on to a shrew wife Ã* la Macbeth), the lunacy of Scorsese's Big Twist speaks to the Truthers and Birthers whose theories literally fly in the face of facts, and who refuse to be persuaded by evidence.

[right_for_the_moment]

First of all, I wouldn't take it for granted that the wife orchestrated any of it. I mena, what's Brosnan's motive for embedding secret messages in his autobiography (or did he not know what he was doing)? And to then make the leap that the actions of a lone nut are part of a larger conspiracy is really embracing paranoid thinking, but I suppose fully in keeping with the paranoid logic of the story. Next we'll be talking about how this film and Shutter Island--both rainy Massachusetts thrillers with conspiracy plots--are reflections of the zeitgeist, but where Polanski's film is essentially European in its rage against Blair (misogynistically transferred on to a shrew wife Ã* la Macbeth), the lunacy of Scorsese's Big Twist speaks to the Truthers and Birthers whose theories literally fly in the face of facts, and who refuse to be persuaded by evidence.

I got the impression that the embedded message (the chapter beginnings, I mean) was the doing of the protagonist's predecessor, the guy who turned up drowned. I don't think Brosnan's character had any knowledge of it.

[baby doll]

I got the impression that the embedded message (the chapter beginnings, I mean) was the doing of the protagonist's predecessor, the guy who turned up drowned. I don't think Brosnan's character had any knowledge of it.

Okay, that makes more sense.

[Grouchy]

This movie was amazing. Polanski knows the rules of the thriller upside and down, and he has an amazing control of the audience. He doesn't cheat, he doesn't aim for shocks, he trusts in the intelligence of its audience and he manages to make the only thrilling thriller I've seen in recent years. Really, there's nothing groundbreaking about this movie, but it's filmmaking at its very best - engrossing, funny, and shocking. I thought it was masterful how Polanski channeled Hitchcock constantly but added his own personal stamp and undoubtedly more cynic viewpoint of the world.

The cast really shines, too. The movie shows that Brosnan's talent is completely wasted in most of the movies he stars in. And McGregor is the perfect everyman. I can't really think how the movie would have worked with Nicolas Cage, which was the original choice. It would've been pretty different.

[Qrazy]

You know what was wrong with this movie? The guy who raked up the leaves didn't do it. He so should have been the one who did it.

[Morris Schæffer]

And Desplats' score is just wonderful too!

[Qrazy]

yes, I suppose that's it in a nutshell. Especially when taking into account that the Lang character was not at all a politically-inclined person. Indeed, when asked by the reporter why he went into politics, the best he can do is "because I fell in love." Still, this got me thinking. The shooting of the Lang character, was that orchestrated by the wife? Now the storm will (possibly) calm down and it was clear that love had vacated their relationship anyway what with him sleeping with the Catrall character.


Not necessarily orchestrated by the wife, but at least orchestrated by the CIA (much like McGregor's murder) of which she is a part. Killing Lang martyrs him and preserves his status. The wife can then ride the coattails of her husband's political success and eventually become prime minister herself (if you'll recall the remark about the frustrations of never being a true politician/call the shots directly herself).

On a side note, I just discovered that an HBO film was airing tonight about the rapport between Blair (Michael Sheen) and President Clinton (Dennis Quaid) during their years in office. It's called The Special Relationship.

[Morris Schæffer]

Sheen played Blair again after The Queen?! :)

[Pop Trash]

Unlike Shutter Island, where the ending left me going "Umm really?," this ending was totally awesome and satisfying and never felt like a cheat. Chinatown meets The Manchurian Candidate. Good job Roman, you beat out Marty this year.

[KK2.0]

completely forgot about this one! :o opened here last weekend, now reading the comments i've became pretty hyped up for it, i'm a sucker for Polanski's thrillers, even the mediocre ones i've found rather enjoyable.

[lovejuice]

like it. oftentimes the script doesn't make much sense, but polanski directed this movie with so much virtuoso everything is forgiven. it's a thriller par excellence, brilliant in building up the sense of dread and paranoia.

an example of a so-called plot hole.

why the hell MacGregor passes on that secret note? if i were him, i would just get the fuck out of that place. then again, the scene is so brilliantly staged.

[Pop Trash]

like it. oftentimes the script doesn't make much sense, but polanski directed this movie with so much virtuoso everything is forgiven. it's a thriller par excellence, brilliant in building up the sense of dread and paranoia.

an example of a so-called plot hole.

why the hell MacGregor passes on that secret note? if i were him, i would just get the fuck out of that place. then again, the scene is so brilliantly staged.

Yeah I thought about that as well. It's a bit like the James Bond villains taking forever to kill Bond by talking him up at length. But it is brilliantly staged and I thought it was McGregor's character giving a big fuck you to her. I almost get the feeling he didn't even care if he was killed afterward, as long as he knew that she knew he found her out.

[lovejuice]

Yeah I thought about that as well. It's a bit like the James Bond villains taking forever to kill Bond by talking him up at length. But it is brilliantly staged and I thought it was McGregor's character giving a big fuck you to her. I almost get the feeling he didn't even care if he was killed afterward, as long as he knew that she knew he found her out.

Not to mention, his predecessor hides the message in the memoir in a convoluted way instead of outright telling that guy, "The Bitch works for the Company!"
Then again, the movie's so brilliantly directed I don't even care about these plot-holes.

[Grouchy]

Not so much plot holes as events that stretch believability. I thought of them too but didn't mind.

[MadMan]

Ghost Writer was quite good, sure, and elements of it reminded me strongly of Polanski's previous movies. Pierce Bronsman, some crappy movies like Percy Jackson and Remember Me aside, has carved out a fine post-Bond career, and he's rather good here. McGregor gets the fun job of potraying a man clearly in over his head, lost in paranoia and fear-much like some of Polanski's previous characters in his noted thrillers.
That said, the movie kind of loses momentum completely in the last act, and the ending was something I jokingly predicted, making it a tad predictable. I think I would have concluded it with McGregor dying, grasping one of the pages in his hand as he draws his last breath in front of the car, but not seeing it works too. If only because then the viewer only gets to see the pages of the manuscript fly away, the truth clearly getting blown away as well-rather unsubtitle metaphor, but it works.
These days, political movies are no longer subtitle, especially considering how obvious most of the movie's subject was about-hell it even sports a rather poor imitation of Condi Rice on TV-but I don't mind as long as its sported in a movie as good as this one.

Oh and I love the scene in question that you guys are talking about: McGregor's expression as he raises his glass is classic.
Regardless though, I feel really that McGregor and his predecessor were rather screwed: it was a charge that could be disproven, and the evidence was a bit flimsy. Plus the fact that Lang's death completely white washed everything, which is why he was killed.

[Qrazy]

Don't mean to be a spelling nazi but... subtle ≠ subtitle.

[Derek]

Don't mean to be a spelling nazi but... subtle ≠ subtitle.

Eh, the difference is negligée.

[MadMan]

Don't mean to be a spelling nazi but... subtle ≠ subtitle.My mistake. I'm horrible with grammar, really.

[Morris Schæffer]

Yeah, I still don't understand why Polanski decided to get rid of The Lang character. It's almost as if he thought that he had become a redundant character given that the finale was almost exclusively about the wife. Sure, we've been shown the fanatical brit father, but for a movie that is so measured, calculated, subtly tense, the assassination of the Lang character virtually struck me as a contrived shock

Like he got lazy and didn't want to worry about filming Lang's reaction at discovering his wife's ties to the CIA or he was unsure of how to deal with it.

Did the Lang character know that it was his wife who was recruited by the CIA?

Nonetheless, what a brilliant thriller! I saw it again two days. It's so bloody atmoshperic, Desplats' score, particularly during the finale (with the paper) as it builds and builds to a fabulous height.

[Rowland]

The narrative here is pretty inconsequential, boiling down to a blatantly predictable boilerplate noir template fused with an almost laughably transparent political commentary. What works here are the embellishments, whether cinematic, performance, offbeat humorous asides, or otherwise, coupled with the thematic correlations to Polanski the auteur and the man. A flawed work, but very smoothly calibrated and enjoyable on a moment to moment basis. And WTF, was that James Belushi? Awesome.

[Morris Schæffer]

And Eli Wallach Rowland!!! Bigger WTF!

[Qrazy]

Yeah, I still don't understand why Polanski decided to get rid of The Lang character. It's almost as if he thought that he had become a redundant character given that the finale was almost exclusively about the wife. Sure, we've been shown the fanatical brit father, but for a movie that is so measured, calculated, subtly tense, the assassination of the Lang character virtually struck me as a contrived shock

Like he got lazy and didn't want to worry about filming Lang's reaction at discovering his wife's ties to the CIA or he was unsure of how to deal with it.

Did the Lang character know that it was his wife who was recruited by the CIA?

Nonetheless, what a brilliant thriller! I saw it again two days. It's so bloody atmoshperic, Desplats' score, particularly during the finale (with the paper) as it builds and builds to a fabulous height.

I believe Lang did not know his wife was recruited by the CIA. In terms of outsiders only the two Ghost Writer's knew that. The Lang character had to be killed because of the scandal he was losing favor with the public. The only way to keep him in good standing was to make him a martyr. There's a line in the film between the ghost writer and the wife about whether or not it bothers them to always only be in the shadows making decisions (as a writer or as a politician) and not receiving the credit. Killing Lang sets up the wife to run for office herself and consolidate CIA power in England. It was also one of the only ways the CIA had to tidy things up when they thought the Ghost Writer was getting too close to the truth.

[MadMan]

And Eli Wallach Rowland!!! Bigger WTF!Plus Timothy Hutton as well. This movie had a great cast, both parts big and small.

[Morris Schæffer]

The Lang character had to be killed because of the scandal he was losing favor with the public. The only way to keep him in good standing was to make him a martyr.

You make it sound like the English dad killed Lang to make him a martyr, but that was only done to quench the man's thirst for revenge. No, the way you word it above seems to lend fuel to the argument that the wife orchestrated the murder of her hubbie (by perhaps allowing security to go slack at the airport). Which, I admit, isn't entirely plausible reasoning. Usually, when someone becomes a martyr, it is plotted, prepared, but I can't imagine the pissed off father would wanted Lang to have become a martyr.

[Qrazy]

You make it sound like the English dad killed Lang to make him a martyr, but that was only done to quench the man's thirst for revenge. No, the way you word it above seems to lend fuel to the argument that the wife orchestrated the murder of her hubbie (by perhaps allowing security to go slack at the airport). Which, I admit, isn't entirely plausible reasoning. Usually, when someone becomes a martyr, it is plotted, prepared, but I can't imagine the pissed off father would wanted Lang to have become a martyr.

Meh, that guy was either manipulated by or worked for the CIA. I can't remember which but I remember it being clear to me in the film. Lang's assassination is as much coincidence as the death of the first ghost writer, the witnesses or Mcgregor.

[Ezee E]

Fantastically put together, but otherwise empty to me. I was pretty disappointed here. Polanski certainly directs this to a level that it certainly never deserved, but I am kind of shocked at how it's so well-liked around here.

[Boner M]

I didn't notice Hutton, Belushi or Wallach. I fail.

Otherwise, agreed word-for-word with Rowland.

[Ezee E]

How'd you miss Wallach? He's the only old chap in the movie, and in one of the key scenes no less.

[Boner M]

How'd you miss Wallach? He's the only old chap in the movie, and in one of the key scenes no less.
*shrug* Seems easily missable, esp. if you hadn't known prior that he'd have a scene.

[Raiders]

I'm not sure I have seen such a subtly powerful film in a long time. Every day since I have seen it, my opinion only improves with each thought. Where initially I saw a handsomely mounted piece of political intrigue I now see an overwhelmingly intricate story and a very personal one. The film is a political suspense film, but ultimately you sense in the end the politics are nothing new. We know how this will end. Nobody completely beats "the system." It will outlast any lone wolf who thinks he is smart and clever enough, even if he is Warren Beatty.

The film's power is shockingly enough in the characters themselves. Brosnan's Prime Minister (an obvious Blair knockoff) is very well calculated; a man with an obvious amount of charm and charisma but with an equal amount of rage and disbelief that everyone would be so bold as to question his decisions when he had the ultimate power. It's a beautiful portrayal by Brosnan, playing off his own dapper-ness and adding a level of agnst he has likely never achieved before (his penultimate scene in the airplane is simply perfect). Similarly Olivia Williams is the epitome of an intelligent but marginalized wife. She's been there through everything but now is in the periphery, her place seemingly taken by another woman. Williams' fierce and intense gaze can shoot right through anything, and few actresses can make outward chilliness so alluring.

But, this is McGregor's film and his character's showcase. He has no name, simply the Ghost. He enters the film almost on a whim, taking yet another anonymous re-write job (the former PM's autobiography) out of spite against the editor who obviously dislikes him. But he is immediately ambushed (literally) and it becomes quite evident this is not as anonymous as he is used to (the previous writer was found dead after all). Still, struck for cash he takes the high-paying job and ships off to a Martha's Vineyard clone to finish the job.

Polanski's precision is striking, particularly in the locale, the setting and the oppressive color-scheme. The huge, angular house sits like an ogre along the shore; its very presence unnatural and mystifying. The study where the Prime Minister's manuscript is kept has a huge window that peers out at the view. Like any good political thriller, the window gives the impression of no bundaries between the inside and outside but however clear the image, you can't reach it from inside. And that outside is as gray, misty and damp as any you'll find. It feels shrouded in mystery, Polanski tipping his hat that whether your inside or outside, the truth guarded and hard to see.

McGregor's Ghost slowly becomes more and more paranoid but equally more and more determined. There's the poignant moment where he finds the former writer's slippers under the bed, and then the more important moment when he find the writer's notes and pictures. Upon that discovery, he begins to dig deeper and nothing begins to add up, only more questions and less answers. This job no longer is about writing a book but almost a civic duty; even the most anonymous of writers has a responsibility to the truth, right?

Much of this section is likely familiar to people who have seen these films before; questionable links between characters, elusive answers, black cars in the distance, menacing undertones. All handled with delicacy by Polanski, displaying a craftsmanship that seems slowly but surely eroding in today's cinema. Today it's all about shocks, reveals, overbearing musical cues, characters so obviously villainous nothing comes as a surprise. But Polanski respects the passage of time and respects the way that even far-fetched ideas and stories must grow organically from within themselves. We are limited to McGregor's viewpoint and we must make the same conclusions as him, take the same chances, sit in the same dark hotel room waiting to either be helped or be shot. There isn't necessarily any light at the end of the tunnel and there has been no establishing shots of any greater truth to be had or any comfort in knowing that we're heading to a place of any clarity. It's all dark, gray and foggy.

Again though, I must stress this is a character piece. For all its current political commentary (and make no mistake, that final plane ride is steeped in it) the growth and change that happens is within our Ghost, not in any greater sense of truth or bearing. He seems fueled by his anonymity and by a tired and disillusioned realization that his place in this story doesn't really exist. He has no credit and his only goal is the money. He takes it almost seemingly as a right of passage into the realm of credit, of noticeability and leading the investigation, not cleaning it up afterwards. When he walks away from one political guru into a plane with another, he might as well be a gust of wind for all he is accounted for.

The finale of the film is simply a masterstroke by Polanski. It's so obvious, so easy to see coming and yet so remarkably disheartening and even a bit amusing. There is a triumphant moment when the whole "conspiracy" comes together and in a moment of cinematic bliss, we see a note passed from anonymous, unkowing hand to anonymous, unknowing hand until it reaches its intended target. At the other end is a ghost, calling the Emperor out for her clothing by tipping his glass. But, he is a ghost and a writer and in this landscape he can do nothing but smirk and depart for he has no place here. And as the final thump is heard off screen, we see the truth begin to dissipate into the air and rising above and along the ground like the spirit of our dear ghost, just a-blowin' in the wind.

[MadMan]

Good to see you writing reviews again, Raiders. Nicely done.

[Chac Mool]

What a finely calibrated film -- subtle but not obtuse, refined but not flimsy, tense without resorting to cheap thrills, hilarious without resorting to dumbed-down laughs. Perfectly cast, expertly made. I won't venture to rank it in Polanski's canon, but it's definitely one of the best films I've seen this year.

[Irish]

Fantastically put together, but otherwise empty to me. I was pretty disappointed here. Polanski certainly directs this to a level that it certainly never deserved, but I am kind of shocked at how it's so well-liked around here.

^ This!

Looking at the consensus thread, I'm surprised how many people liked this one.

It starts off just brilliantly, playing so much as a traditional English gothic mystery in the first act that actors should have been wearing period costumes.

Afterwards it devolves into a bullshit thriller with increasingly ridiculous story turns. The climax of the film was all kinds of awful, and not fit for the worst kind of post-Watergate paperback pablum out of the 1970s.

Polanski made two movies here. The first one is good. The second one is junk.

[Raiders]

I still think the ending worked beautifully.

[Irish]

I still think the ending worked beautifully.

From your interpretation, I agree (and that's a damned cool interpretation).

But the entire last half of this movie is like watching a virtuoso play Die Walkure on the kazoo.

I know there's not a lot of great material floating around out there, but grade-z material like The Ghost Writer and Shutter Island is a waste of the talents of their respective directors.

[endingcredits]

But the entire last half of this movie is like watching a virtuoso play Die Walkure on the kazoo.


Or Beethoven,
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